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FIU Electronic Theses and Dissertations University Graduate School
4-6-2001 Museum of urban development and headquarters for the planning/preservation department of the city of Miami Beach. Roberto Bezold Florida International University
DOI: 10.25148/etd.FI14051138 Follow this and additional works at: https://digitalcommons.fiu.edu/etd Part of the Architecture Commons
Recommended Citation Bezold, Roberto, "Museum of urban development and headquarters for the planning/preservation department of the city of Miami Beach." (2001). FIU Electronic Theses and Dissertations. 1606. https://digitalcommons.fiu.edu/etd/1606
This work is brought to you for free and open access by the University Graduate School at FIU Digital Commons. It has been accepted for inclusion in FIU Electronic Theses and Dissertations by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. FLORIDA INTERNATIONAL UNIVERSITY
Miami, Florida
MUSEUM OF URBAN DEVELOPMENT AND. HEADQUARTERS FOR THE PLANNING/PRESERVATION
DEPARTMENT OF THE CITY OF MIAMI BEACH
A thesis submitted in partial fulfillment of the
requirements for the degree of
MASTER OF ARCHITECTURE
by
Roberto Bezold
2001 To: Dean William McMinn School of Architecture
This thesis written by Roberto Bezold, and entitled Museum of Urban Development and Headquarters for the Planning/Preservation Department of the City of Miami Beach, having been approved in respect to style and intellectual content, is referred to you for judgment.
We have read this thesis and recommend that it be approved.
Kevin Smith
Raul Garcia
Marilys R. Nepomechie, Major Professor
Date of Defense: April 6, 2001
The thesis of Roberto Bezold is approved.
Dean William McMinn School of Architecture
Interim Dean Samuel S. Shapiro Division of Graduate Studies
Florida International University, 2001
ii DEDICATION
I dedicate this thesis to my family: Leticia, Lula, Luigi, Willy and Clayde Without their patience, understanding, support, and most of all love, the completion of this work would not have been possible.
To Leticia, mi espocita, thanks for all the love, and more love.
To Luigi, mi hermano, thanks for all the help and love, especially for the help during the toughest times.
To Lulica, mi mami, thanks for all the unconditional love since 1973.
To Willy, mi pacho, thanks for everything, including all the help as an outstanding architecture consultant.
iii AKNOWLEDGMENTS
I want to thank the members of my committee and all FlU faculty members for the support during the period that I studied at the School of Architecture. To Ms. Marilys Nepomechie, my Major Advisor, I thank for all the good ideas in design, the patience and unlimited help and availability for all my questions. To Mr. Kevin
Smith, I am very thankful for all the help and advise in design as well as for all the technical advising and good humor. To Mr. Raul Garcia, thanks for all the help in the design analysis, useful information and knowledge in the Preservation field as for his invaluable friendship and collaboration with books, research documents and other useful material. To Mr. John Stuart, thanks for been an outstanding Graduate Advisor and professor who help me start with my thesis during Pre-thesis seminar. To all you, Marilys, John, Kevin and Raul my sincere gratitude for been my professors and friends during all the time I studied at FlU.
iv ABSTRACT OF THE THESIS
MUSEUM OF URBAN DEVELOPMENT AND HEADQUARTERS FOR THE PLANNING/PRESERVATION
DEPARTMENT OF THE CITY MIAMI BEACH
by
Roberto Bezold
Florida International University, 2001
Miami, Florida
Professor Marilys R. Nepomechie, Major Professor
The objective of this research and thesis was to develop a program and project in the context of the Historic Art Deco
District in Miami Beach. This project intended to analyze the chronological history of the urban development of the Art
Deco District, its geographical, political and socio-cultural conditions as well as the evolution and different architectonic typologies of the area. In order to understand the issues involved in design in a historic context, this research
addressed and analyzed several architectonic interventions within various historic places. This research concluded with
the design of a public facility located at Ocean Drive, Miami Beach, consisting of a Museum of Urban Development and
Headquarters for the Planning/Preservation Department of the City of Miami Beach. The project proposal and thesis,
addresses architectonic and theoretical issues specific to design in an historic area.
v TABLE OF CONTENTS
CHAPTER PAGE
I. INTRODUCTION...... 1
II. HISTORICAL BACKGROUND...... 1 The Boom Years, 1920s-1930s...... 4 Architectural Styles...... 6 The Post Depression Boom Years. 1930-1941...... 10 The War Years, 1942-1945...... 16 The Post War Boom, 1945-1965...... 17 1970s-1990s...... 21
III. SITE AND CLIMATE...... 22
IV. SOCIAL CONTEXT...... 23
V. PRESERVATIONISTS VS. INVESTORS...... 23
VI. ECONOMIC VIABILITY...... 24
VII. ARCHITECTURAL CHARACTER...... 25
VIII. HISTORIC CONTEXTS...... 25
IX. ROLE OF PRESERVATION...... 26
X. MUSEUM ...... 27
XI. PROPOSAL...... 28 Skin and Structure...... 31 Architectural Details and Zoning...... 32
XII. LIST OF REFERENCES...... 56
VI LIST OF FIGURES FIGURE PAGE
21. The Tides Hotel, 1220 Ocean Dr...... 13 FIGURE PAGE 22. Park Central Hotel, 640 Ocean Dr...... 15 1. Map of Miami Beach...... 3 23. The Waldorf Tower, 860 Ocean Dr ...... 15 2. Map of Architectural District...... 1 24. The Victor Hotel, 1144 Ocean Dr...... 15 3. Miami Beach Early Coconut Plantation...... 2 25. The Clevelander Hotel, 1020 Ocean Dr...... 15 4. J. N. Lummus...... 2 26. The Breakwater Hotel, 940 Ocean Dr...... 15 5. Collins Bridge Openning Day on June 12, 1913...... 5 27. The Winter Haven, 1400 Ocean Dr...... 15 6. Miami Beach Early Roads, Atlantic Boulevard...... 5 28. The Cardozo Hotel, 1300 Ocean Dr...... 16 7. Miami Beach Aerial View During the 1920s...... 5 29. The Avalon Hotel, 700 Ocean Dr...... 16 8. The Martha Hills Apartments, 850 Ocean Dr...... 8 30. The Ocean Plaza, 1430 Ocean Dr...... 16 9. Casa Grande, 834 Ocean Dr...... 9 31. Beach Patrol Station...... 17 10. Flambeau Apartments, 1126 Ocean Dr...... 9 32. Oceanfront Auditorium, 1001 Ocean Dr...... 17 11.Ocean Drive Hotel, 760 Ocean Dr...... 11 33. The War Years, 1942-1945...... 17 12. Park Hotel, 928 Ocean Dr...... 11 34. The Pelican Hotel, 826 Ocean Dr...... 19 13. Locust Apartments, 918 Ocean Dr...... 11 35. The Boulevard, 740 Ocean Dr...... 19 14. Beach Paradise Hotel, 600 Ocean Dr...... 11 36. The Adrian Apartments, 1052 Ocean Dr...... 19 15. 1926 Hurricane...... 11 37. The Eastern Sun Apartments, 900 Ocean Dr...... 19 16. The Post Depression Boom Years, 1930-1941...... 11 38. The Ocean Park Apartments, 1412 Ocean Dr...... 19 17. The Amsterdam Palace, 1116 Ocean Dr...... 13 39. The Sun Haven Apartments, 800 Ocean Dr...... 20 18. Edison Hotel, 960 Ocean Dr...... 13 40.The Casa Grande Suite Hotel, 834 Ocean Dr...... 20 19. The Netherland Hotel, 1330 Ocean Dr...... 13 41. The White House Apartments, 1446 Ocean Dr...... 20 20. Irene Marie Apartments, 728 Ocean Dr...... 13 42. Aerial View of Miami Beach, 1980...... 21
vii FIGURE PAGE FIGURE PAGE
43. The Ocean Promenade,1040 Ocean Dr...... 21 65. 2nd Level Isometric View...... 38
44. II Villagio Condominium, 1455 Ocean Dr...... 22 66. 3rd Level Isometric View...... 39
46. 1500 Ocean Drive...... 22 67. 3rd Level Aerial Perspective...... 39
47. Soldiers Trainning at Miami Beach...... 23 69. 4th Level Aerial Perspective...... 40
48. Barbara Capitman...... 24 70. 4th Level Isometric View...... 40
49. Site for Project Proposal...... 27 71. 5th Level Isometric View...... 41
50. Perspective - !st Level of Museum Proposal ...... 28 72. 6th Level Aerial View...... 41
51. Pedestrial Walkway...... 29 73. 7th Level Isometric View...... 42
52. 4th Level Plan View of Museum Proposal...... 30 74. Roof Aerial View...... 42
53. Perspective view of Digital Screen on Main Facade of Museum Proposal...... 31 75. East Facade...... 43
54. Rendering Image of Scaffolding Structure of Museum Proposal...... 32 76. South Facade...... 43
55. Entrance Level Floor Planof Museum Proposal...... 33 77. West Facade...... 44
56. 2nd Level Floor Plan...... 33 78. North Facade...... 44
57. 3rd Level Floor Plan...... 34 79. Section View...... 45
58. 4th Level Floor Plan...... 34 80. Section View...... 45
59. 5th Level Floor Plan...... 35 81. Section View...... 46
60. 6th Level Floor Plan...... 35 82. Section View...... 46
61. 7th Level Floor Plan...... 36 83. Detail Section View...... 47
62. Roof Plan...... 36 84. Detail Section View...... 47
63. Main Facade, East Elevation...... 37 85. East Facade Detail Perspective...... 48
64. Section A'A...... 37 86. Interior Walkway and Exhibition Detail Perspective...... 48
65. Entrance Level Isometric View...... 38 87. Interior Walkway and Exhibition Detail Perspective (East-W est)...... 49
viii FIGURE PAGE
188. Interior W alkway and Exhibition Detail Perspective (W est-East)...... 49
88. Camera View of Ocean Drive from the Ocean Perspective...... 52
89. Interior Perspective from Auditorium...... 53
90. Night View of Terrace of Museum Proposal...... 53
91. Aerials -View and Model...... 54
92. Process of Design Models...... 54
93. Final Model Perspective Views...... 55
94. Ocean Drive Facade...... 55
ix Introduction Drive and 12 street. In order to design in a historic context it is fundamental to understand the history and development
Ocean Drive lies at the heart of the Historic Art Deco District in Miami Beach1. It is one of the most historically significant of the place. This helps in understanding the existing conditions that provide the background for a new proposal. avenues on Miami Beach, which is bounded on the west by the Biscayne Bay, on the east by the Atlantic Ocean, on the north by the city of Surfside and on the south by Government Cut. Miami Beach is composed of more than 5,000 acres Architecture in wider use means "unchanging deep structure".4 Architecture should in a sense be permanent as part of and 16 islands located in South Florida. (Figure 1) The largest of the islands is seven miles long and one-and-a-half a continuous process that should not be broken. Architecture, like any human activity evolves with history and every miles wide. Within this island lies the Art Deco Historic District. period of development within history is important to the overall outcome and continuous process of evolution. From
Vitruvius to 20th century architectural theory, architecture has been defined as an evolutionary process. Robert Venturi
s Designated in 1979 as the Architectural District, (Figure2) the and Denise Scott-Brown, Jane Jacobs and James Marston Fitch, founder of preservation as an academic discipline in
5 rS, u 37fI Historic Art Deco District is composed of more than 800 buildings America, have all written about continuity in architecture. Peter Eisenman's drawing of an arrow (picture - N. Tyler.
listed in the National Register of Historic Places. It is one of the Historic Preservation p.14) is a metaphor for the concept that a building does not represent its own time period only, but
largest districts listed in the National Register and one of the is also part of a time continuum.6 This quote by writer I. L. Peretz about people can also be used for architecture and youngest, in terms of the age of its buildings, which were mostly buildings: "Not only an individual, but a people, too, must possess a memory. A people's memory is called history. What
built between 1923 and 19432. The Art Deco District roughly forms a is true of an individual without memory is also true of a people without history: they cannot become wiser or better."7
rectangle within Miami Beach, bounded by the Atlantic Ocean on the east, Alton Road on the west, 6th street on the south and Dade Boulevard along the Collins canal to the north. 3 Most Historical Background historic buildings stand along four major urban arteries: Collins Avenue, Lincoln Road, Ocean Drive and Washington To understand the context along Ocean Drive, it is important to study its history as part of the chronological
Avenue. development of the area, spanning from the early developments of southern Florida, near the 1500s, into present times.
The area along Ocean Drive and Miami Beach developed slowly in comparison to other parts of South Florida. During
Ocean Drive is a north-south boulevard running parallel and next to the Atlantic Ocean along south Miami Beach. Sixty- the 1500s, the area surrounding the Art Deco District and Miami Beach was part of a chain of deserted barrier islands nine buildings are located along Ocean Drive. These represent a great amount of history of the Art Deco Historic with shifting sands on the Oceanside and thick mangroves on the bayside.8 Until the 1800s, Florida belonged primarily
District and the City of Miami Beach. The first architectonic and urban developments in Miami Beach occurred in this to the Spanish and the English. At that time Florida was a land primarily populated with runaway slaves, Native area. The first home in the city of Miami Beach, for example, was built where the Tides Hotel now stands on Ocean Americans, pirates and rugged pioneers. Unable to control the land, the Spanish ceded it to the United States in 1821.
In 1827 Florida became the 27th state of the United States. When Florida became a state, the United States turned over
victor Diaz. Historic Preservation Board. Miami Beach Preservation Board meeting at 08-10-2000. 5Jmes Marst F. H Bui ngs earn. YrUnivesty :Pe gin, 1995 . 2 Keith Root. MDPL The Art Deco Guide. Miami Design Preservation League, 1987. p.5 6Norman Tyler. Historic Preservation. New York: w.w. Norton & company, 2000. p.145 Keith Root. MDPL The Art Deco Guide. Miami Design Preservation League, 1987. p.5 1 the unsettled land for use as a funding source for the new state government. Settlers were encouraged to purchase land once occupied by Lum's plantation. The Lummus brothers, recognizing the need for a lands at low costs and to develop their own properties. In 1868, Henry B. Lum, a farmer good beach for the tourists, who were pouring into Miami, built a bathhouse on the beach. from Pennsylvania, sailed from Key West to Miami and then over to explore the beach wilderness area on the eastern side of the Biscayne Bay. He saw three palm trees In 1912, the first land sales company was established in Miami Beach. The Ocean Beach growing on the beach, and they gave him the idea of a coconut plantation.9 (Figure 3) Realty Company was responsible for the first plat recorded within the Dade County. J. N.
By 1881, Lum owned all of the land south of today's 14t street. He purchased the land, Lummus, founder and first president of the company, (Figure 4) was a man who envisioned a for 35 cents an acre, from the State of Florida. Other investors followed his steps and city fronting the ocean made up of modest single-family residences. 12 This idea was clearly reflected in the platting bought land to use as coconut farms. John Stiles Collins was one of those investors. In pattern of 50 by 140 foot lots within 300 by 400 foot blocks, split by a 20-foot wide right-of-way running down the center
1886, Charles Lum, son of Henry Lum, built a two-story house on the oceanfront, at what is today the Tides Hotel, on of the blocks in a north- south direction 13. This overall scheme of blocks and streets was oriented parallel to the ocean
Ocean Drive and 12th street. It was the first house built in Miami Beach. By 1890, the Coconut plantation business went on today's Ocean Drive. The Lummus brothers were responsible for the first major developments on the area that is bust mainly because of geographical conditions. The dense mangroves made land preparation very difficult and the now Ocean Drive. According to Miami Beach Planning Department research documents and Miami Design Preservation sand flies and mosquitoes made working conditions extremely hard. League archives, the Lummus brothers intended to develop a middle class community resort along the coastline.
Because of financial hardship, the Lum family left Miami Beach in 1890.
In 1913, the Collins Bridge opened, (Figure 5) which connected Miami Beach with the mainland in order to transport
In 1896, the City of Miami Beach was founded. Some years later, in 1904, Richard M. Smith, a former Connecticut goods and people. The bridge was named after John Collins, who was another of the early Miami Beach investors that schooner captain and Dade County Tax assessor, inaugurated the first rudimentary ferry service between Miami and owned avocado plantations and a five-mile strip of land between 141~ street and 67th street, along today's Collins the beach, erecting a pavilion near the foot of present day Ocean Drive. The pavilion, an elevated open-air dance hall Avenue. The Lummus Brothers and Carl Fisher, a wealthy industrialist, joined John Collins in the construction of the and bathing house with a steep pyramid roof, was named Smith's Casino. It was the first resort structure in what is now bridge, bringing much needed capital to the project. Carl Fisher, John Collins and the Lummus brothers were the main
Ocean Beach, and preceded even the completion of Government Cut on March 14, 1905.10 In the summer of 1905, investors in Miami Beach during the first decades of the 1900's. Carl Fisher developed the area of Lincoln Road and
Mayor John Sewell declared a holiday so that everyone could witness the mingling of the "muddy waters of Biscayne north of Ocean Drive to 41st street. The Lummus brothers however, were entirely responsible for the early development
Bay" with the "turquoise blue of the Atlantic Ocean".1' Around 1907, brothers John and James Lummus, each president of Ocean Drive. of a different Miami bank, bought 580 acres of bayfront and beachfront land on the southern end of Miami Beach, on the
7 I. L. Peretz. "On History", in Stories by Peretz, trans. Sol Liptzin.NY: Hebrew Publishing, 1942. p. 202 8 Keith Root. MDPL The Art Deco Guide. Miami Design Preservation League, 1987. p.11. 9 Keith Root. MDPL The Art Deco Guide. Miami Design Preservation League, 1987. p.12. 12 Michael Raley. Old Miami Beach. Miami Design Preservation League, 1994. p7 99 10 City of Miami Beach Planning, Design and Historic Preservation Division. Ocean Beach Historic District Designation Report. 1 5.p. 11 12 Ibid. p. 7 1 Arva Moore Parks. Magic City, Miami. Miami: centennial Press, 1991. p. 87 2 J p o 0 um . 0
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3 Around 1913, the Lummus' built a road by the sea, called Atlantic Boulevard. It was the first vehicular road, in the discriminating policies in comparison with northern areas developed by Fisher. However, in present times, Ocean Drive
location of present day Ocean Drive. (Figure 6) On April 15, of 1915, William H. Brown, a Scottish immigrant and has become a place for the rich, the wealthy and beautiful.
plumber, bought a lot just north of today's 1st street. On that site, first hotel in Miami Beach was built, at 112 Ocean
Drive. It was named the Atlantic Beach Hotel but was also known as the Brown's Hotel after its owner. (Figure 6) Today, The Boom Years 1920-1930 the building is called Star Apartments. Currently, there is a proposal to restore the building to its original status and to (Figure 7) The urban development of Miami Beach began in the early 1900s. But the 1920's were called "The Boom
add to the structure, by Miami architect Allan Shulman. years." 17 By 1921 there were in total five hotels and nine apartment houses on the Beach. Today, eight of the buildings
built between 1920-1929 remain on Ocean Drive. These include the 1922 Creighton Court Apartments. Constructed by
John C. Williams, this two story residential building contained thirteen apartment units. At about 33 feet high, this U-
Also in 1915, J. N. Lummus was elected mayor of the City of Miami Beach. As one of his first acts, he changed the shaped building is composed of a large patio with steps at the entrance facing the ocean. The Creighton Court name of the oceanfront road to Collins Avenue. In November of that year, he sold about 200 acres of his private land to Apartments is considered a historic building and represents the early development of Ocean Drive's original small the City for $40,000 with the condition that the city would construct a public park on that property. By having a park in boarding houses.'8 front of his remaining property, it became more valuable.14 The Lummus brothers' original plan for the area that is now The Historic Preservation Board of Miami Beach considers the site significant and much of its vernacular architectural
South Beach was to generate a diverse, middle class resort. The Lummus brothers never intended to build tall buildings features, including its exterior envelope made of stucco, still remains intact.19 From 1988 to 1990, there were alterations or mansions in the area along Ocean Drive. Their vision was always of a conjunction of low scale buildings. 15 This set made to the building. The area changed to mixed-use zoning, and the interior space was modified to host what is today the typology for the urban development that occurred along Ocean Drive and the area that is now known as The Art the News Cafe bookstore. Now the building is called the Ocean News on 804 Ocean Drive.
Deco District.
The term "significance" when referring to a building has been widely used but should follow certain criteria established
In 1916, the sale of land on Miami Beach was sluggish. Lummus offered free lots to anyone who promised to build by the National Register of Historic Places, in the United States. The criteria for the National Register and for most, if homes on his land. Lummus' policies for selling land were far less discriminatory to potential buyers than those of other not all, local landmark and historic district ordinances specify that properties may be designated on the basis of local investors, including Carl Fisher. Lummus gave away 35 home sites in a day in one occasion. His "non-discriminatory" significance as well as by virtue of their significance to a state or the nation.2 policy for selling his land was to offer property to any buyer who was "white, law-abiding, and could afford the down payment on the property."16 Many of the property owners who purchased land from Lummus were Jewish. Today, in the twenty-first century, the diverse ethnic population in the area originally developed by Lummus, reflects his less
1hIbid. p. 7 1 Keith Root. MDPL The Art Deco Guide. Miami Design Preservation League, 1987. p.7. 18 Buildings are designated as Historic or non-Historic by The City of Miami Beach Planning Department and Historic Preservation Board 15 City of Miami Beach Planning, Design and Historic Preservation Division. Ocean Beach Historic District Designation Report. 1995.p13. 19 Miami Beach Planning Department Building Cards - Ocean Drive. 16 Michael Raley. Old Miami Beach. Miami Design Preservation League, 1994. p. 7 20 Britannica. com. www.sah.org. The Society of Architectural Historians 4 11 i yc rd
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5 According to the National Register, the quality of significance in American history, architecture, archeology, engineering (5) Represents the work of a master; serves as an outstanding or representative work of a and culture is present in districts, sites, buildings, structures, and objects that possess integrity of location, design, master designer, architect or builder who contributed to our historical, aesthetical or setting, materials, workmanship, feeling, and association and: architectural heritage;
(a) That are associated with the lives of persons significant in our past; (6) Has yielded, or is likely to yield, information important in pre-history or history;
(b) That are associated with the lives of persons significant in our past; (7) Listed in the National Register of Historic Places;
(c) That embody the distinctive characteristics of a type, period, or method of construction, or that represent the (8) Consists of a geographically definable area that possesses a significant concentration of
work of a master, or that possess high artistic values, or that represent a significant and distinguishable entity Sites, Buildings or Structures united by historically significant past events or aesthetically by
whose components may lack individual distinction; or plan or physical development, whose components may lack individual distinction.
(d) That has yielded, or may be likely to yield, information important in prehistory or history.21 Most of the contributing, historic buildings on Ocean Drive were constructed during the 1930's and 1940's.
The majority of the buildings constructed during the 1930's favored the Moderne Style of architecture. The architecture
The City of Miami Beach has defined and organized a set of institutions responsible for the preservation and regulations on Ocean Drive is considered cohesive and harmonious. The popularly known Art Deco architecture, which includes all of Miami Beach. The main identities are: the Miami Beach Historic Preservation Board, including a member from the the buildings on Ocean Drive, and the Art Deco district, refers to a series of different styles of architecture that
Miami Design Preservation League. Then, there are the Miami Beach Planning Board, the Miami Beach Development, developed during the first half of the 20th century. Design and Historic Preservation Services Department, the Planning, Design and Historic Preservation Division and the
City Commission.22 The Historic Preservation Board of Miami Beach classifies buildings as contributing or non- contributing. A contributing building is defined as any property or building that possesses integrity of location, design, Vernacular/Early Transitional (circa1900 to early 1930's) 24 setting, materials, workmanship, feeling or association, and meets at least one of the following criteria:23 Vernacular is not a style "per se", but rather a common method of typical early construction in South Florida. Local
(1) Association with events that have made a significant contribution to the history of Miami craftsmen used traditional building methods and readily available materials, typically wood frame or masonry. Forms are
Beach, the county, state or nation; simple with little or no ornamentation. with specific (2) Association with the lives of Persons significant in our past o r history; Early Transitional is a unique local hybrid style, which combines basic elements of Vernacular together clay tile roofs and (3) Embody the distinctive characteristics of an historical period, architectural or design style or atures typical of Mediterranean Revival, or vice versa. Examples include Mediterranean-style
method of construction; round-arched roofs together with lathed woodwork and the simple of Vernacular.
(4) Possesses high artistic values; Mediterranean Revival (circa mid 1010's to early 1930's) 25
21 william J. Murtagh. Keeping Time. New York: Preservation Press, John Wiley & Sons, Inc., 1997. p.183. 22 ibid. Introduction 23 City of Miami Beach Planning Department-Designation Report. 24 The City of Miami Beach Planning/Preservation Department. Historic District Designation Report. 6 Mediterranean Revival architecture was the "style of choice" for the first major boom period in Miami Beach. Its patterned or scored. Keystone, either natural or filled and colored, was frequently used to define special elements. connotation of Mediterranean resort architecture, combining expressions of Italian, Moorish, North African, and Windows ranged from wood and steel casement to wood double-hung, and even large single windows in gracefully
Southern Spanish themes, was found appropriate and commercially appealing image for the new Floridian seaside curved masonry openings. resort; it was a style that was simultaneously being used expansively in California and other areas of similar climate.
During the mid 1910's through the early 1930's, the style was applied to hotels, apartment buildings, commercial structures, and even modest residences. Its architectural vocabulary was characterized by stucco walls, low pitched Art Deco/Streamline Moderne 27 terra cotta and historic Cuban tile roofs, arches, scrolled or tile capped parapet walls, and articulated door surrounds, Although Art Deco is the "mother" style, Streamline Moderne rapidly evolved and ran concurrently with Art Deco as the sometimes utilizing Spanish Baroque decorative motifs and Classical elements. Feature detailing was occasionally dominant design branches. Consequently, the examples of these styles in Miami Beach typically embody characteristics executed in keystone or patterned ceramic tile. of both styles as summarized below.
Application of the architectural vocabulary in Miami Beach ranged from sparing to modestly exuberant, and building massing varied from simple rectangular form to step massing with recessed wall planes and tower-like corner features.
Wooden casement or double-hung windows of several configurations provided additional detail to the facades.
Art Deco (circa late 1920's to 1930's). 28
Mediterranean Revival/Art Deco Transitional (circa late 1920's to mid 1930's)26 The style now commonly referred to as Art Deco is considered one of the first twentieth century architectural styles in
"Med/Deco" in Miami Beach was a synthesis of Mediterranean Revival form and Art Deco decorative detail or vice America to break with traditional revival forms. It emanated largely from the impact of the 1925 Paris Exposition des versa. This unique hybrid style became a fascinating bridge between the "familiar" and the "new" as the allure of Art Arts Decoratifs et Industriels Modernes, a design fair celebrating the reconciliation between the decorative arts and
Deco found its way into the City's architectural vocabulary. Clean stepped rooflines and crisp geometric detailing advancements in technology and industry.29 Architects searching for design "purity" became eager to explore new replaced scrolled parapets, bracketed cornices, and Classical features on structures of clear Mediterranean Revival possibilities afforded by the rapidly evolving Machine Age.30 An Architectural style unfolded which looked to both the form. Likewise, slopped barrel tile roofs rested gracefully on edifices with spectacular Art Deco entrances and fagade past and the future for its design inspiration. treatments. Building forms in the Art Deco style were typically angular and clean, with stepped back facades, symmetrical or
Some of the most celebrated architects in Miami Beach designed structures in this brief-lived but very significant style, asymmetrical massing and strong vertical accenting. The preferred decorative language included geometric patterns, including V.H. Nellenbogen, Henry Hohauser, Russell Pancoast, and T. Hunter Henderson. The predominant exterior
27 material of Med/Deco Transitional was smooth stucco with raised or incised details. Featured stucco areas were often The City of Miami Beach Planning/Preservation Department. Historic District Designation Report.
28 The City of Miami Beach Planning/Preservation Department. Historic District Designation Report.
25 The City of Miami Beach Planning/Preservation Department. Historic District Designation Report. 29 Metropolitan Dade County, From Wilderness to Metropolis, Second Edition (Metropolitan Dade County, Office of Community Development, Historic Preservation Division, 1922), p. 187. 26 The City of Miami Beach Planning/Preservation Department. Historic District Designation Report. 3 Barbarara Capitman, Michael D. Kinerk, and Dennis W. Wilhelm, Rediscovering Art Deco U.S.A.; A Nationwide Tour of Architectural Delights (New York: Viking Studio Books, 1944), p. 2. 7 abstracted natural forms, modern industrial symbols, and ancient cultural motifs employing Mayan, Egyptian and Classical Revival - Art Deco Style (circa 1930's to mid 1940's)32
Indigenous American themes. During the 1930's in America, buildings of a religious or monumental nature often relied upon the form and language of
In Miami Beach, a unique form of Art Deco employed nautical themes as well as tropical floral and fauna motifs. Ocean Classical Revival architecture as a means of ensuring a traditional and formidable presence in the community. In Miami
liners, palm trees, flamingos, and numerous related elements graced the exteriors and interiors of the new local Beach, however, the tide of Art Deco was strong. Buildings that exhibited Classical form also displayed architectural
architecture. The favored materials for executing this distinctive "art" d6cor included bas-relief stucco, keystone, etched features and decorative elements that were significantly influenced by the Art Deco architecture of the Beach. For
glass, a variety of metals, cast concrete, patterned terrazzo, and others. Today this distinctive design vocabulary, which example, cornices and molding bands were designed to feel more like the continuous "eyebrows" of the Streamline
further incorporated glass block, Vitrolite, and stunning painted wall murals, has become the hallmark of Miami Beach's Moderne Style.
internationally recognized Art Deco gems.
Streamline Moderne (circa 1930's to 1940's).31 Post War Modern (1945 to late 1960's)33
As "Art Deco" evolved in transportation and industrial design began to have an even greater impact upon new The Post War Modern style in Miami Beach exhibited many elements of its companion style of the period, Post War
construction. The "streamlined" character of automobiles, airplanes, trains, buses, ocean liners, and even home Deco, but clearly established a path of its own in terms of modern functional simplicity. Essentially the strong design
appliances inspired powerful horizontal design compositions, accentuated by striking vertical features and punctuated personality of Art Deco, as it evolved over two decades in Miami Beach, significantly gave way to the dictates of
by icons of the technological era. Continuous "eyebrows", racing stripe banding, radio tower-like spires, portholes, and function in the Post War Modern seaside resort architecture.
deck railings like those found on grand ocean liners, were among the unique features to set this architecture apart from
anything before it. The creative incorporation of nautical themes showed this advancing form of Art Deco to be true to its In 1922, the Martha Hills Apartment building was constructed at 850 Ocean Drive.
origins in Miami Beach. Architect Henry La Pointe originally designed this rectangular, two-story building. This
Smooth, rounded corners often replaced sharp ones on Streamline Moderne buildings, especially on corner lots. structure suffered severe alterations to its architecture and is therefore not considered t "Eyebrows" swept around the corners as did other details. Street corners became inviting architectural focal points, an historic building. Yet, it is still an early example of a small-scale vernacular L whether the special treatment employed was based upon curves or angles. architecture that has been altered, but still retains its conforming scale and siting.34
Like earlier Art Deco buildings, the Streamline Moderne style incorporated smooth and articulated stucco, architectural Today, the Martha Hills Apartment building hosts the Cafe Milano restaurant at its entrance level. (Figure 8) glass block, keystone, and a variety of metals used in detailing. Predominating surfaces became smooth, planar, and aerodynamic in character.
32 The of Miami city Beach Planning/Preservation Department. Historic District Designation Report.
3 The city of Miami Beach Planning/Preservation Department. Historic District Designation Report.
31 The city of Miami Beach Planning/Preservation Department. Historic District Designation Report. 34 Miami Beach Planning Department Building cards - Ocean Drive. 8 In 1923, at 312 Ocean Drive, The Biltmore Place was constructed. It is located in the Ocean Beach District and was In 1925, Willard Meyers designed and constructed the Ocean Drive Hotel at 760 Ocean Drive on the south corner of 8th designed by architect J. Gannon. It is considered a contributing building and remains in a good condition. Its current Street. Even though it is one of the oldest buildings on Ocean Drive, it has suffered severe alterations that remove any use is residential apartments. Its crest and the top of its facade are typical of the Mediterranean Revival style of significance to the building and is not considered historic. Its scale and original 24 feet height have been maintained. architecture. 35 Today, the building serves as a two story bar in a mixed-HPD-use Zoning. (Figurel 1)
During 1923, the Casa Grande Apartments was built at 834 Ocean Drive. Designed by architect August Geiger, it is a The City of Miami Beach Planning, Design and Historic Preservation Division, provides for a division of the land use and
32 feet high, U-shaped building containing eighteen apartments. It has a broad raised terrace and a minor green space zoning distribution in categories according to uses: residential, commercial, mixed-use, recreation and open space, within the u-shaped space of the building. It is attached to 844 Ocean Drive. The building is considered a historic marine recreational, light industrial, public facilities, conservation protected and parking. Also, this classification is done building and a good example of the Mediterranean Revival style of architecture, with typical architectural features of the according to population density. style on the east elevation. Some architectural features are the arch-topped chimney and the tile roof. In the interior, the wide arched entry is the only remaining distinguishing feature.36 According the Planning and Preservation Department Generally, the southern part of Miami Beach tends to be R-PS (residential, high density) combined with ROS (recreation of Miami Beach, the building has suffered some alterations and and open space), with higher density levels towards the beach and the Atlantic Ocean. The area along South Beach, deterioration that does not affect its significance. Today the building m'including Ocean Drive, southern Collins and Washington Avenues, is MXE (mixed-use entertainment.) Lincoln Road is maintains its original name but it is zoned for mixed-use. At the *w CD-3 (commercial, high intensity.)37ln chapter 142, Zoning Districts and Regulations, from the City Code of Miami entrance level of the Casa Grande building, now stands the Mezzaluna - Beach, the zoning divisions and regulations are established. "To achieve the purposes of these land development
restaurant while the rest of the building is the Suite Hotel. (Figure 9) _ regulations, the Code of the city, and regulate the use of land, water and buildings, height and bulk of buildings and
The building mixes a stucco facade of the Mediterranean Revival style other structures, and population density and open space, the city is herby divided into districts." 38 Example: RS-1 is the of architecture and a new addition in glass between the structure at 834 Ocean Drive and 844 Ocean Drive. This symbol for a Single-family residential district building offers a particular feature of having a vertical circulation volume as a transition element between the two buildings. During1925, the Park Hotel was built at 928 Ocean Drive. This three-story, 35' high building was originally a Vernacular
Style of architecture but was altered into a Moderne Style. G.H Hyde designed the Park Hotel. The building is now
Also in 1923, arose the Flambeau Apartments, at 1126 Ocean Drive. A two-story called Park Retirement Home and its main urban features are that the building cantilevers over a raised terrace, and is building substantially altered over the years, it was demolished in the early 1990s, and supported by square columns.39 (Figure 12) now remains as an empty lot, at Leonard Horowitz PI, or 11th street, next to the south of the Victor Hotel. (Figure 10) 6Ibid. 3 Official Map of Miami Beach-Land Use. 3 Code of the City of Miami Beach, Florida. Chapter 142 zoning Districs and Regulations 9 Miami Beach Planning Department Building cards - Ocean Drive. 3 Miami Beach Planning Department Building Cards - Ocean Drive. 9 led to the development of the Art Deco and encompassed many new styles of great influence on the architecture to be
The following year, 1926, saw the construction of the Locust Apartments, at 918 Ocean Drive. This 3-story building built in the 1930s in Miami Beach. Other factors led to change on Miami Beach as well. In September of 1926, a very contains many architectural features of significance such as the arches, pilasters, cornices, etc. Also, in the interior, the Severe hurricane struck South Florida. (Figure 15) It caused substantial loss of life and property damage, even though fireplace, with its twisted columns, is an element of significance. This structure is one of the few early buildings in Ocean comparatively few buildings were actually destroyed. It caused significant economic damage. After the hurricane, the
Drive that maintains its interior significance. (Figure 13) It has a 10 ft setback, a ground floor front terrace, and a land value dropped and development in Miami Beach never recovered during that decade. Between 1927 and 1929, masonry banner above the entry, as a signage element.40 This building is the only example of Venetian Gothic Revival only one building was constructed in Ocean Drive, the Beach Paradise Hotel. In 1929, the worldwide stock market crash style of architecture within the Art Deco District. 41 led to the Great Depression that caused an economic decline within all the United States and around the globe.
In 1929, after the 1926 Hurricane, the Beach Paradise Hotel was built at 600 Ocean Drive. It is a 3-story hotel originally The Post Depression "Boom" Years, 1930-1941. called the Beach Park Hotel. This is a historic L-shaped building of the Mediterranean Revival style of architecture. It From 1930 to 1941, were called the Post Depression "Boom" Years44 (Figure 16) Miami Beach had entered an contains important interior features, such as a fireplace and a beamed and coffered cypress ceiling. The building has a economic decline even before the Great Depression, as a result of the hurricane that hit the city in 1926. In a similar long front terrace and pierced masonry block balustrade at the entrance.42 (Figure 14) Today, next to this site, towards manner, the city recovered before other parts of America. During the 1930's, the automobile became a phenomenon, by the north, is a vacant lot. Only six vacant lots remain in Ocean Drive as it is today. the time; there was one car for every five persons. In the arts and culture, aesthetics became more important than
function. The years from 1930-1935 were a period of transition for the architecture that was designed along Miami
During the 1920s, there were major developments in other areas within the Historic District. In this decade the Flamingo Beach. Building styles changed from the construction of 1920's Mediterranean Revival style to the three-dimensional
Hotel, the Miami Beach Aquarium, the Nautilus Hotel and the Wofford Hotel, were constructed. All these developments Streamline Moderne and Art Deco architecture.45 Building construction between 1930 and 1941 was a process of led to the naming of this period of time as the Boom years. By 1925, there were 56 hotels, 178 apartment houses, 858 accommodating to the pattern of land usage established during the 1920s. This period was marked by a new optimism residences, 308 shops, and offices and another 20 buildings in Miami Beach.43 reflected in the architectural styles and also by a more modest typology of building construction along Miami Beach.
The architectural styles found on Miami Beach and in much of America during the later part of the 1920s were The building boom of the 1930s and early 1940s, led to the construction of more than 1000 buildings in southern part of profoundly changed by exposure to European designers. For example, the Exposition Internationale des Arts Decoratifs Miami Beach. In 1937, for example, 150 hotels and 508 apartment buildings were constructed in South Miami Beach.46 et Industriels Modernes, took place in Paris, in 1925. This fair was a place for the fusion or integration of the arts that A group of fewer than 10 architects, coming mainly from the northern states, designed many of the buildings in the Art
4 Miami Beach Planning Department Building Cards - Ocean Drive. 4 Michael Raley. Old Miami Beach. Miami Design Preservation League, 1994. p. 9 41 Keith Root. MDPL The Art Deco Guide. Miami Design Preservation League, 1987. p.152 4 lbid.p.9 42 Miami Beach Planning Department Building Cards - Ocean Drive. *Chronological History of Buildings along Ocean Drive 43 Michael Raley. Old Miami Beach. Miami Design Preservation League, 1994. p. 9 4 Keith Root. MDPL The Art Deco Guide. Miami Design Preservation League, 1987. p. 29 10 f 1 F' 1 } i 14 'g M1 ( 6 ' + G Y 9 S tl 1 MY Y ff V' 4'. fi W"9t2Fi . Jg, awe ' rkla -aJ s, ' y {S ' , , .y ur
b a e
Y" yr> 49 4 naly 9 Pb as r 4 , . ro r Fig. 11 Fig. 12 Fig. 13 5« a "" k "'xdf ?dsP o- 65' t4tS 17' DNr' 9 q i d. s? fi t' k Yr y**, iP 3a r y 3Sa'^^ d fry. UP: , c +.- 21 .,. a4rx 18014 BpiI 27 I ?6--0cwDri.. Iook'n_ north toMard'he . DeaomlleCasno. r.,_ .. Ir.. . Fig. 14 Fig. 15 1 x Fig. 16 11 Deco district in frantic pace, giving neighborhood cohesiveness to the architecture and urban development in the area. ornamented with twisted columns, and a 5-bay arcaded loggia terrace at the entrance level with a stucco fagade imitating big stone or masonry blocks. (Figure 18) On Ocean Drive, there were 47 buildings constructed between 1930 and 1941. In the following section of the essay, there is a chronological and stylistic recount of the construction and history of some of the most important buildings During 1935, at 1330 Ocean Drive, the Netherland Hotel was built. Designed by Robertson Et Patterson, this seven constructed during that time on the basis of mentions in historic preservation documents and others, related to the story, 80' high building, is one of the tallest in Ocean Drive. The basement entry and the fountain at the entrance of the development of Miami Beach. This analysis will help to understand the profile of the development in the area. building are some major characteristics of this building. It is a good example of the Art Deco style of architecture, with additional significance due to its size (103 room hotel) and siting, an unusual triple lot, a 35' setback and a zigg zagg In 1930, The Amsterdam Palace, a three story residential building, was constructed on Ocean Drive between 11t and side entry.50(Figure 19) 12t Street. The designer was Henry La Pointe. The building was originally called "Casa Casuarina" after an Australian pine, which was growing on the lot. A modern sculpture of "Kneeling Aphrodite" by Vuc Vuchinich marks the pointed Also in 1935, the Irene Marie apartment building was constructed at 728 Ocean Drive. Its original name was Sun Ray arch entranceway. It was modeled after the Alcazar de Colon (Castle of Columbus), which was the home of Diego Apartments. It is a two story, 20ft high building listed as contemporary. Architect Don Reiff designed it. This building is Columbus, son of Christopher Columbus, in the Dominican Republic47. conforming mainly in scale to the Historic District, and presents an ocean front facade of stucco and brick.51 (Figure 20) A brick from that original house was placed in a cornerstone of this property at 1116 Ocean Drive. It is the finest In 1936, at 1220 Ocean Drive architect L. Murray Dixon built the Tides Hotel. It is a 12-story building with one hundred example of Mediterranean Revival architecture on Ocean Drive, a richly asymmetrical design that once contained 24 and fourteen rooms that for many years was the tallest historic building on Ocean Drive. The keystone in the walls apartment units.48 Until recently, was owned by fashion designer Gianni Versace and the building served as his (natural and dyed keystone), the 3-stair terrace at the entrance, its height and setback are the major architectonic and personal residence. Some architectonic characteristics are the raised keystone steps and terrace at the entrance of the urban characteristics of the building. It does not maintain a highly cohesive scale with the neighborhood buildings, an building. (Figure 17) uncharacteristic feature of buildings along Ocean Drive. (Figure 21) At 960 Ocean Drive stands the Edison Hotel built in 1935 by architect Henry Hohauser. It is a 67 room, 57'6" high building on a corner site next to 10th street. Its architectural style is Mediterranean Revival adapted to a Modern context.49 This building shares a swimming pool built in 1956 with the Breakwater Hotel. The building is highly 47 Keith Root. MDPL The Art Deco Guide. Miami Design Preservation League, 1987. p.103-104 48 Miami Beach Planning Department Building Cards - Ocean Drive. 5 Miami Beach Planning Department Building Cards - Ocean Drive. 49 Miami Beach Planning Department Building Cards - Ocean Drive. 5' Miami Beach Planning Department Building Cards - Ocean Drive. 12 ry iY t iu n 'Y i E X# Y S #a .t l v i >r i s t a { y v _ +wp F[i q +" ,. s#'61 ra L r v i . r ' y tppp . ... i?4 Y'u. i l 1 Pr k T 'jam e Y F. 17 Fig. 18 , yl. { .' 7 Y ti 8 i p P } - u.aLdun _ M1 Y .. , an -t Ml 4 { v dry ^ m r g 1 i % i I Ilia . 1 I .. M k^ - 11 fIi11W m.i. v bb Fig. 19 Fig. 20 Fig. 21 13 In 1937, at 640 Ocean Drive, Henry Hohauser built the Park Central Hotel. This building is an outstanding example of ocean. 54 This building contains a front terrace with a massive rail and a large open space in two of the lots of this Streamline Moderne architecture and Hohauser's work. It contains a highly significant interior space composed of a property. This building has an outside bar in the pool area. According to the Miami Beach Planning Department, the large lobby wall, terrazzo floor, multi levels and a mezzanine. Its site and urban characteristics are, a large green area hotel is considered a very good example of Art Deco/Streamline Moderne architecture with a significant height and high with what is currently a sculpture garden. It has suffered minor rehabilitation.52 (Figure 22) neighborhood cohesiveness. This means that the building generates continuity, and accommodates harmoniously, with the adjacent buildings. Height is important feature since of the 47 buildings constructed during the 1930's and early The Waldorf Tower Hotel at 860 Ocean Drive was also built in 1937; Albert Anis designed it. It is located on a corner 1940's; most were two or 3 stories high. (Figure 25) site next to 9th Street. It is a 50-room hotel, 3 stories high. Its site and urban characteristics include its corner site, its side entry to the basement, a front terrace raised from the sidewalk level, and the masonry balustrade surrounding the In 1939, The Breakwater Hotel was built at 940 Ocean Drive. It is a U-shaped, 36 ft high building that originally terrace at the entry. Its major architectonic feature is its tower over the entrance on the corner of this Streamline contained 75 rooms. It is a Streamline Moderne building with the largest porch and neon sign vertical facade on Ocean Moderne building. The rooftop tower marks the corner at Ocean Drive and 9th street but the main entrance faces the Drive. 55 Anton Skislewicz designed this building that shares a swimming pool with the Edison Hotel. Eyebrows and ocean. It has a strong nautical influence in its style of architecture with high neighborhood cohesiveness. (Figure 23) terrazzo floors are some of its significant architectonic features. The Breakwater Hotel shows great nautical influence in its design. (Figure 26) At 1144 Ocean Drive stands the Victor Hotel built in 1937. The architect responsible for this eight story, 125ft high building was L.M. Dixon. This hotel is one of the earliest examples of the International Style of Architecture within Miami During 1939, the Winter Haven apartment building was constructed at 1400 Ocean Drive. (Figure 27) The architect Beach. It is also one of the tallest buildings along Ocean Drive. The Victor Hotel contains a patio surrounding the was Albert Anis and this building belongs to the International Style of architecture. This three story, 41 ft high building is ballroom. It used to have a decorative rail on the front terrace with large portholes carved in the concrete fence. 53 also considered non historic, conforming according to the Preservation Department. This building is located at a corner Special features of this hotel are the pelican relief sculpture and a mural by Earl Le Pan in the lobby. The Victor Hotel site at 12th Street and the ocean and has a terrace with a metal rail facing Ocean Drive. 56 contained a private parking lot to the South, at the adjacent site. Today the Victor Hotel is in process of being restored. The adjacent site is still owned by the Victor Hotel but is now an empty lot with vegetation and grass on it. (Figure 24) Also in 1939, The Cardozo Hotel was built at 1300 Ocean Drive. Henry Hohauser designed this 40ft high building. It was originally designed to have 70 hotel rooms within its three floors. It is an outstanding example of the Streamline In 1938, at 1020 Ocean Drive, the Clevelander Hotel was built. Architect Henry Hohauser designed this 59'6" high Moderne style of architecture. It is located at the corner of Ocean Drive and 13th street. The South facade facing 13th building that originally contained 60 hotel rooms within its five stories. This property consists of three lots and has one street has been altered, as has the interior of the building. The Cardozo Hotel is a symbol of the preservation movement of the only original swimming pools built on Ocean Drive. A flying Saucer sculpture faces the Edison Hotel and the represented by the Miami Design Preservation League (MDPL). In October of 1978, this hotel hosted the first Art Deco 5 Miami Beach Planning Department Building Cards - Ocean Drive. 52 Miami Beach Planning Department Building Cards - Ocean Drive. 5 Keith Root. MDPL The Art Deco Guide. Miami Design Preservation League, 1987. p.154 S Ibid 56Miami Beach Planning Department Building Cards - Ocean Drive. 14 WiSr a': IVA- fy V I'v 77 { 4 a b i b .a0 A, m .., ,., t Fig. 22 Fig. 23 Fig. 24 ,*4ap" 4 ,r Ww w. rah A p S r J^ i'ukf +qi _ ' a -vaV Fig. 27 Fig. 25 15 Week celebrated in Miami Beach. The Capitman family purchased the Cardozo Hotel in 1979 with the purpose of providing a demonstration project to display the unique features of the historic district. By that time, Barbara Capitman In 1930, the first zoning ordinance for the City of Miami Beach was established. It demanded a five-foot side-setback for was the president and founder of the Miami Design Preservation League. In addition to its architectonic qualities and multiple-residential properties. The height restriction was 15 stories or 150 ft. As a result of the ordinance and mainly in geographical conditions there were also emotional conditions for its selection by Capitman. It had always been Barbara response to the setback regulation, the area of South Beach, including Ocean Drive, allowed the construction of Capitman's favorite building in the District due to the Streamline design of the structure with its rounded corners and building with separations of no more than 10ft. between them. This issue resulted in hotels having to attach signage courtyards. It was also a place of great memories for Mrs. Capitman. The Frank towers as name emblems, to the buildings, in order to solve an identity crisis due to the proximity of the buildings to one Sinatra movie "A Hole in the Head," was filmed in the Cardozo Hotel. 57(Figure 28) another. However, this creative architectonic solution, led to decorative elements that gave additional character to area. The Avalon Hotel, previously known as St. Charles Hotel is one of the last buildings on Ocean The War Years, 1942-1945. Drive to be considered Historic. Architect Albert Anis, at 700 Ocean Drive, constructed the 1942 to 1945 were considered "the War Years". (Figure 33) During World War II, the difficulty in obtaining permits for Avalon Hotel in 1941. (Figure 29) non-essential projects to the government, the city and community, limited construction and development along Miami War boom in the economy of Miami Beach. At 1430 Ocean Drive lies the Ocean Plaza, designed by L. Murray Dixon in 1941. This is one of Beach. From 1945-1965, there was a Post the latest constructions on Ocean Drive to be designated as historic. The Ocean Plaza is a The Post War Boom, 1945-1965 Streamline Moderne hotel previously known as Hotel Clyde. (Figure 30) During the early 1940s, most of the Historic District attracted tourism from the middle class and became a residential tourism. Tourists Also during the 1930's, on Lummus Park, by 10' street and Ocean Drive, the Historic Beach area for many senior citizens. The hotels along the area continued to work according to a seasonal 58 until 1945 that a structure Patrol Station was built. (Figure 31) Later, The Oceanfront Auditorium was constructed at the back of the Patrol Station. from the 20's and 30's were coming back to the area as permanent residents. It was not It is a residential-commercial Mixed-Use (Figure 32) The Oceanfront Auditorium is also on Lummus Park at 1001 Ocean Drive. These two buildings form one was built at 460 Ocean Drive. Currently, the property name is "Tommy To Go". designed by architect volume. The Patrol Station and The Auditorium are together the only public buildings along Ocean Drive. They are the building. The building is considered contributing since is one of the few Art Deco structures due to the war. The architecture only buildings in Lummus Park and the only buildings directly connected to the beach between fifth and 13th Streets. Gerard Pitt. It reflects a simplicity resulting probably from the slowdown in construction shows endurance of the style even though the ornamentation of the facades had decreased in comparison to the The architectural development of Miami Beach during the 1920's and 1930's favored part of the barrier island, and detailed ornamentation in architecture along Ocean Drive, constructed in previous years. Two years later, Martin Havre comprised what is now the Art Deco Historic District. The buildings built at that time along Ocean Drive and south of 14m Street, were less pretentious and less expensive than the buildings along Millionaire's Row, (a three-mile stretch along Collins Avenue were many millionaires built their mansions during the 1920s-1930s) and north of Miami Beach. 5 Michael Raley. Old Miami Beach. Miami Design Preservation League, 1994. p. 9 58 Michael Raley. Old Miami Beach. Miami Design Preservation League, 1994. p. 17. 16 5E J ': t' r' . ils F u-r rid Jw;: s, x r' IY( 3a n it ., ra r,.xrv f , ""a'N vi r 0 v*. z.i 'ahr ik"r + IIP t .. f>7- ak le P8a1 '_u ; ,,.. r", = i '. di' ti ' ~k .. k ' " W ,':+k ' 3i' ,91! , "sy.. + ;, i v,. S F Cis iw ,. {-ar I'+ " -. w ,Yai i3- :" ler "il. ' IIti r 'sao t'w Nlo il iI"g^,«, e1' 'ssl E 3rv ',6'? Y;:. +A . .,5 a .. # ":~ t:' N1 _ t it J;+q? m1 a ,vm,'rd 7d" 1 s' hfl. p ug ,._ fi '-k LLu.L .. " ... cU 'vug w s^ I 7(^p e Fa .. woo a St T!{,av ; _ . P e ice.. 3 R S ; 4 i. v . ti ¬ i' :_ ,r".. ^i1 " N'.i r' 9 r,.li'f-:: 'P, ;jfd"", Ie- g i' -V'l '>.-" 5 3 rr s 1 a.-a i. e r Fl .. J i a 4F 1v 'y r c I , rd" n"S C r ,F ~ i r r , L INN _ r'" t Ci" c i 3 no t"I 1 E4 M 4 v a{ l i II-Mr no M-'-111, lag", too f xt gPr car -10 l' 6ih ' 0 1r ail ' -W it{ a e # G kqi +' Y }i 'S q rr'kyri ,e"p { t rri -y V' u}A"5 , .e' 9y"' , x i =j 'f 5.1A a 11 '?t' .,r J G tL r t I d F } 5 r il'Y; . -0 r F F k fly.ni 32rag. 4' < r Fig. 31 Fig. 33 17 Designed an Art Deco building, at 412 Ocean Drive. This building is located at block 5 lot 8 between 4th and 5th street. 1100 Ocean Drive. IT was three stories, 40ft high hotel, with a C-shaped floor plan, designed by A. H. Mathes. This Its zoning classification is RPS-4 59; it is the original subdivision for the zoning in that specific area. building was considered non historic but conforming with respect to its scale, height and stylistic features by the Preservation Department.62 However, It was demolished in the early 1990's for the construction of an extension of the In 1948, at 121 Ocean Drive, the Sea Crest Apartments was constructed. It is a modest residential building of the Post Amsterdam Palace, at the time owned by fashion designer, Gianni Versace. Like most of the buildings constructed in War Deco style of architecture.) This building's front facade is composed of a single block massing mixed with brick the 1950s on Ocean Drive, it contained a front terrace with a metal rail, architectural features as a stucco-facade, panels which are uncommon for the mainly stucco-fabric facades at Ocean Drive. Also in 1948, the Pelican Hotel was eyebrows and a height of 40ft for a 3 stories building. built at 826 Ocean Drive. (Figure 34) Henry Hohauser was the architect of the project. This building is not considered historic and not even contributing. It has not registered in the Planning Department within any specific style of In 1952, a two story residential apartment building was constructed at 130 Ocean Drive. The architect was G. M. Fein. It architecture. Its only considerations are that it is conforming in scale and stylistic features. The scale refers to is a contributing building according to the Preservation Department. It is located in the Ocean Beach district and proportions and mainly the height of the building, which is 40ft for a three-story building. The stylistic features that are in belongs to a Post World War II Modern Style of architecture.63 In that same year, The Starlite apartment building was accordance or conforming to the urban typology or fabric refer to the skin of the building, made of stucco and to such constructed at 750 Ocean Drive. The builder responsible for this 4 story and 43 ft high building was Leonard Glickman. urban features as the front terrace and baluster rail rounding the terrace at the entrance. It has a non-historic but conforming designation from the Preservation Department. Its style of architecture is considered Contemporary and is conforming in scale and stylistic features to the Historic District.64 It has a front porch In 1950, the Boulevard was constructed at 740 Ocean Drive. (Figure 35) It was originally called the Bolivar Hotel and and has a commercial front store at the ground level. By 1952 also, the Eastern Sun apartment house was built at 900 was designed by August Swartz. It is a three story, 37 ft high building. The building conforms in scale and stylistic Ocean Drive (Figure 37). This U-shaped, two story and 23 ft high building was designed by G. M. Fein and is features to the Historic District. It has a front porch with a stone veneer on the ground floor and a facade made of stucco considered non-historic conforming by the Preservation Department. 65 It is located at a corner site facing 9t street and and stone. It suffered substantial alterations in 1989, including the creation of an atrium. 60 is a courtyard building belonging to the Garden style of architecture. This building occupies a large portion of oceanfront facade between ninth and 10t street. Today, commercial stores and entertainment stores are set on the ground floor of In 1950, the Adrian apartment house was constructed at 1052 Ocean Drive. The architect for the project was T.M. this building. The Mango's Tropical Cafe is located at that site. Also in 1952, the Ocean Park apartment building was Sherman. (Figure 36) This two story, 20ft high building is conforming in scale, setting and stylistic features according constructed at 1412 Ocean Drive. (Figure 38) Architect August Swartz designed this two story, 25 ft high building. It to the Planning and Preservation Department of the City of Miami Beach. It contains a shallow front terrace with a was a non-historic conforming apartment building in a garden style of architecture. It had a front porch and with railing. It was first a residential building and now is a commercial building.61 It has a commercial storefront at the ground floor (Tattoo) and has no significant features on the interior of the building. Also in 1950, the Revere Hotel was built at 62 Ibid. 59 Zoning cataloguing according to the Planning and Zoning Department of the city of Miami Beach. 63 Miami Beach Planning Department Building Cards -Ocean Drive. 60 Miami Beach Planning Department Building Cards -Ocean Drive. " Miami Beach Planning Department Building Cards -Ocean Drive. 61 Ibid. 65 Ibid. 18 fJJ !r P Idyi' III I I I , r yl Ii JI ! v ' 34n g t t a .f r a r '.a 4 a37 a t ... " ik.l. ' ' tx bra' ~ 7e k a+ M 4rn w ye t. 3 'n .u. r r y K. gg a ,w m S )t :.X v rC a f .. 9 r"a a*^E@ r3'vivo f o N ,yy yam, : 1 Y ; In f. 44 49 r. Fig. 34 Fig. 35 t g e . ! '.r "'I" MVy r 4 pmp 4 ' ,a,.,ws e f z! 44 i 4 Fig. 36 Fig. 37 Fig. 38 19 Masonry and brick details on its main facade facing the ocean. 66This building is in process of re-opening with severe In 1961, a Post World War II Transitional, Post Art Deco residential building was constructed at 158 Ocean Drive. alterations made to its architecture. Architect Maurice Weintraub designed this residential condominium designated as contributing by the Preservation Department. In 1964, the Ben-Stan Apartments building was constructed at 1024 Ocean Drive. (Figure 42) The five In 1958, the Sun Haven apartment building was constructed at 800 story, 49ft high building was designed by J. Meyer. It is considered non historic and does not conform to the Historic Ocean Drive. It is three stories, 33'9" building designed by Gibert Fein. It _ District. This building front facade is made of stucco and brick with continuous masonry balcony rail. This building front 70 is also considered non historic but conforming and its main features are terrace is raised from the sidewalk level, higher than the regulations and standards for Ocean Drive. that it is located at a corner site between 8t Street and the ocean and has a front porch with a continuous pierced masonry railing in the ground In 1969, at 401 Ocean Drive, the Presidential Condominium apartment building was constructed. The architects floor, 2nd, 3rd stories, and roof.67 (Figure 39) responsible for the project are Frese-Camner Associates. It is an 11 story, 96ft high building located in the Ocean Beach Historic District. The building includes parking for 161 vehicles. On October of 1968, the Miami Beach City At 844 Ocean Drive lies the Casa Grande Suite Hotel Council approved its construction with the condition that no commercial business would occur in this property.71 Also designed by Gilbert Fein and constructed in 1958. (Figure before the actual construction of the building, the City Council approved the extension of fourth street pavement 40) It is a three story, 34 ft high building designated as non- eastward from Ocean Drive. This building is considered non historic and not conforming by the Preservation historic but conforming. It is attached to 834 Ocean Drive .68 Department. Also in 1969, the Ocean Point condo-apartment building was constructed at 345 Ocean Drive. The It has a colonial style of tile roofing and at the ground floor architects were also Frese-Camner Associates. This was a very similar project to the one on 401 Ocean Drive. The lays the Mezzaluna restaurant. height of this building is 107 ft for seven stories of 238 apartment units. There are 160 automobile parking spaces and a 15' extension of the building eastwards into the setback on the Oceanside. Also, this regulation changed were approved Finally, also in 1958, the White House Apartments were constructed at 1446 Ocean by the City Council with the condition that there would be no commercial business on this property.72 Drive. (Figure 41) Architect Reif designed this three story, 31 ft building in a Garden style of architecture. This building is designated as non-historic but conforming in scale. The City of Miami Beach Planning and Preservation Department considered none of the buildings of this Post War era Its architectural features are its brick veneer and decorative wood railings. The exterior Historic. During this period of time, 16 buildings were constructed on Ocean Drive. At most they contain some fabric of the fagades is made of stucco.69 architectural features that are considered significant or conforming. Most of these buildings maintain a conforming scale in accordance to the standards and regulations established for Ocean Drive and the Historic District. 69 6 Miami Beach Planning Department Building cards - Ocean Drive. Ibid. 67' Miami Beach Planning Department Building Cards - Ocean Drive. 7 Ibid. 2Miami Beach Planning Department Building cards - Ocean Drive. 20 In 1989, a new zoning code was established for the City of Miami Beach. This code allowed a number of big new During this period of time the large-scale tourism and construction of big hotels occurred convention hotels to be built along District, north of South Beach, in exchange for protection of the rest of the district. at the North of Ocean Drive The Fountainbleau Hotel and the Eden Roc are some of the Also, this new zoning allowed properties along the Historic District to have commercial uses in previously residential buildings constructed during those years. During the late 1960's to the 1980's there was and hotel areas. This new "hotel village" plan as was called by preservationists of the time, allowed historic properties to little new development at the heart of Ocean Drive, which extends from 5th Street to 14th have their facades stripped and changed into trendy shops and alternative uses. The new zoning ordinance allowed the Street. (Figure 43) After the war, affluence and tourism came back to Miami Beach, but development of today's Loews Hotel at Collins Avenue. However, after the ordinance, many historic buildings were not to Ocean Drive and South Beach. The smaller hotels became outdated and gave way xi n demolished to let the new construction to be built. The Boulevard, Carl Fisher's last hotel, The New Yorker, and The to the bigger hotels to the north. 73 Rock Garden Hotel, are some of the buildings demolished during the time despite the opposition of Barbara Capitman and the MDPL. 1970s-1 990s The Miami Design Preservation League was founded tn June of 1976, in an attempt to revive the area along South The new zoning ordinance of 1989, led to the commercialization of Ocean Drive that has flourished since then. Leonard Beach. Three years later, the National Register of Historic Places designated the Historic District in 1979. In 1986, the Horowitz, a former MDPL member and preservationist whose name has been given to 11th Street in Miami Beach, Miami Beach City Commission, composed of a staff including members from the Planning, Design and Historic stated in an interview in 1988: 'We need to preserve every building that we have because what we're preserving is the Preservation Division, created two minor districts within the larger Historic District. One includes Espanola Way, a streetscape, not just the building, and the fact that they're together-their integrity of design."74 At the beginning of the narrow, six block lane of tile-roofed buildings. The second includes Ocean Drive from 5th Street to 15th Street and 1990s, there was a big hit to the preservation movement with the new zoning plan and new construction project to be Collins Avenue from 6th to 16th Street. The National Register Architectural District or the Historic Art Deco District is developed. Also, in 1990, Mrs. Barbara Capitman died at the age of seventy. divided into minor districts which include Espanola Way Historic District, the Ocean Drive/Collins Avenue Historic District and the Museum Historic District, which starts at 17th streets and ends in the Collins Canal. In 1990, the Ocean Promenade was built at 1040 Ocean Drive. (Figure 44) The architect of the project is W. Osborn. It is a non-historic building and is considered Also in 1976, the commission approved a new set of zoning changes designed to encourage renovations of dilapidated compatible with the Historic District and MXE zoning.75 This is a two-story building with buildings on Ocean Drive and Collins Avenue. In exchange for restoring buildings, owners would be allowed to change an open-air bar and a canopy over a concrete paved floor. As a result of the 1989 residential spaces to commercial and retail spaces. ordinance, commercial activity exploded in Ocean Drive during the 1990s, producing the highly commercial environment that is present today. This encouraged investors to develop high-rise structures along Miami Beach. 7 A pastel Paradise, video by Levien Products, Inc. Miami Beach, Fl. 1988. 73 Shulman, Allan. Ciudadcity. COAvAN, 2000.p.31 7 Miami Beach Planning Department Building cards - Ocean Drive. 21 In 1998, II Villagio Condominium was built at 1455 Ocean Drive. (Figure 45) It is a sixteen commercial and hotel areas are often mixed together in various unified neighborhoods. During the 1990s, the new high- story mixed use edifice, overlooking Lummus Park and expansive white sand beach. At the rise developments on Ocean Drive are the more significant urban and architectonic developments in the area. northern border of Ocean Drive, facing the Ocean and 15t street, lies 1500 Ocean Drive. story beachfront condominium that is in the process of completion. (Figure 46) It is a fifteen Construction and building activity has increased in Miami Beach during the last decade. In fact, over $1 billion was known architect Michael Graves designed this building. The project site is The internationally invested in new construction and renovation of residential property during the 1990's. There is little available area for located on a narrow 2.5-acre rectangle that stretches from Collins Avenue to the beach and new developments along Ocean Drive. However, the renewed interest in Miami Beach real estate, combined with the terminates the view north along Ocean Drive. In the project development, the City' rebirth of South Beach as an international playground, led to a more than doubling of the value of taxable property in the requested the preservation of the four-story Bancroft Hotel, a 1939 historic structure city between 1984 and 19997 occupying part of the property. Finally, only the wrapping of the Bancroft Hotel was maintained as part of the retail space of the building. In programming and developing a new project within the historic context of Ocean Drive, it is important to analyze the geographic location, the social, political and economical conditions of the community and the existing architecture within In the mid 1990s, the City of Miami Beach Planning, Design and Historic Preservation its different styles. Division approved new regulations for Miami Beach. The City Commission composed of Sy Eisenberg, Neisin 0. Kasdin, Nancy Liebman, David T. Pearlson and Martin Shapiro, were responsible for the Site & Climate designation of the Ocean Beach Historic District.76 This district represents the area south of 6th Street in Miami Beach. The location for the project studied in this context for a museum, is on Ocean Drive Geographic location is important to This area is not part of the original Historic District. As part of the designation report in 1995, it was stated that the every development, but is highlighted in this project because of the special characteristics involving this location. Ocean proposed new district represented a significant part of the first settlement on Miami Beach, becoming a magnet for Drive faces the Atlantic Ocean, extending from 1st Street to 15th Street. Its location boundaries are visibly defined by the pioneer tourists and adventurous residents. It was also the site of the first subdivision and infrastructure on the Beach, 1500 Ocean Drive Condominium, on the north side and soon by the Bentley Hotel tower that is being built on the south. known as Ocean Beach subdivision platted in 191277 Ocean Drive is located in front of Lummus Park and the Atlantic Ocean, in the area popularly known worldwide as South Beach. An Ocean Drive site location involves very different aspects. First, its proximity to the ocean requires During the last decades, Miami Beach has emerged as a global center for fashion, film, television, music, new media special conditions for foundations and structure. The South Florida Building Code, adopted since 195779, and and the performing and visual arts. Today, Miami Beach is a mix of many diverse neighborhoods: residential, substantially edited after Hurricane Andrew in 1992, provides the regulations and standards required for structures located at the oceanfront. Steel reinforcements within concrete footings around the perimeter of a building and steel 7 city of Miami Beach Planning, Design and Historic Preservation Division. Ocean Beach Historic District Designation Report. 1995. 78 http://www.ci.miami-beach.fl.usindex.html 7 Ibid. p.3 . 79 http://www.haznet.org 22 bars tied to the slab foundation are some of the requirements for building in Ocean Drive. Also, steel rods must be became the home to the soldiers. (Figure 47) After the War, the soldiers installed around the top of the walls, with reinforcements tied from the top beam to the slab. 80 Concrete piles as returned to live in Miami, and Ocean Drive. In 1980, more than 12,000 foundation systems are recommended for buildings with more than two floors. Many of the tall buildings in Ocean Drive Cubans sailed north to Florida from Mariel.83 After landing in Key West, they such as the Presidential, were constructed using concrete piles as foundation. In the proposed restoration of the went directly to Miami. Many of these people were political opponents of Fidel Brown's Hotel at 112 Ocean Drive, the group of architects, engineers and developers are proposing moving the building Castro and most were Cuba's misfits and most hardened criminals.84 Later in in order to build a concrete pile foundation system for the building. Ocean Drive is very susceptible to Hurricane strikes. the 1980s, during the same decade that brought the Mariel boatlift to Miami Consequently, Dade County has had one of the toughest codes for hurricane winds in the country, and the strictest in Beach, Art Deco Revival became successful, and with it, the revival of all Miami Beach. "Miami Beach had all the state of Florida. ingredients to create one of the most distinctive urban environments in America: The architecture, the geographic location, the people. Miami Beach could be a vibrant community where all kinds of people-elderly retirees, young The hurricane of 1926 caused a lot of damage and more recently; Hurricane Andrew in 1992 hit the coasts of Miami artists, people from the North, people from Latin American come together to create an exciting, harmonious causing great losses for the city. According to National Hurricane Center, 57 hurricanes have hit directly the coastline of community." 85 the state of Florida from 1990 to 1996. Twenty-four of the hurricanes had been considered category 3 or above which Preservationists vs. Investors are considered major hurricanes. 81 (Hurricane categories range from 1 to 5) On the other side, Ocean Drive and In the early 1980's, the renovation of the Cardozo Hotel located in Ocean Drive and 13t street, launched the Miami Beach average 240 days of sunshine annually, with an average yearly temperature of 75 degrees, including preservation movement of renovating and restoring Deco Hotels and buildings in Ocean Drive.86 The restoration of the temperatures averaging 68 degrees in the winter and 81 degrees in the summer.82 project attracted young people, business people and trendsetters of the preservation, architectural and design communities. Later in the decade and into the 1990's, battles between preservationists and investors dominated the Social Context Miami scene. The destruction and demolition of several hotels and the restoration of many others were among the The development of Miami Beach was closely related to the development of a community in the area. Ocean Drive and significant events of that decade. Miami Beach started as part of a coconut and avocado plantation in the end of the 1800's and early 1900's. Later in the in the1920s, Ocean Drive became the winter beach resort of choice for the wealthy people of northern U.S.A. During In 1992 Gianni Versace paid 2.95 million dollars for a historic but dilapidated apartment building known as the the 1930s and into the 1940's Ocean Drive became gradually, a beach resort for the middle class. Avoiding social Amsterdam Palace, on Ocean Drive and 11t Street. Later, he also bought the historic Revere Hotel to create a discrimination along other resort areas, mainly Jewish communities and elderly people lived in the area of Ocean Drive swimming pool and parking garage for his mansion. The demolition of the Revere Hotel created a battle among MDPL and South Beach, through the 1940's. During World War II, soldier training took place in Miami, and Ocean Drive hotels preservationists, Versace attorneys and city officials. In the end, the demolition of the Revere Hotel was approved. It 80 http:l/www.haznet.org/sflhurricane.htlm 83 Michael Raley. Old Miami Beach. Miami Design Preservation League, 1994. p. 149 81 http://www.nhe.noaa.gov 84Ibid. "Keith Root. MDPL The Art Deco Guide. Miami Design Preservation League, 1987. p. 5 23 was stated that the cause of the demolition was that the Revere Hotel was a non-historic building constructed after1950. Beach Resort Hotel Association. In recent years, resort tax revenue has gone up 20%. Ocean Drive shows the fastest This designation belonged to the City of Miami Beach Preservation Department since the National Register of Historic increases in tax revenues including food & beverage tax. In fact, in municipal Miami Beach, the primary source of Places had designated the Revere Hotel as significant since 1979. It is just one example of the many confrontations income is tax revenues. Ocean Drive has the highest taxes within Miami Beach. These statistics, gathered from surveys among preservationists, investors, and city officials that characterized this period. This occurrence also resulted in the done by the MDPL, show the high economic value of any piece of land in Ocean Drive. Showtime Interactive website conversion of half of an entire block of the most expensive real estate in Miami Beach into a private residence, offers a questionnaire on South Beach. The question is: "Visited South Beach? What's its best feature? The results by approved by city officials. (Historic Preservation Board and City Planning Department) May 2000 are: Bars and Clubs 48%, Overall atmosphere 29%, Restaurants 6%, Shopping 3% and Location 2%. The new Zoning Ordinance of 1989 brought a series of controversial issues. It allowed the construction of New Construction and building activity continues to increase throughout the City of Miami Beach, at the beginning of Convention Center Hotels and changed the zoning plan for Miami Beach. The Mixed-Use Entertainment (MXE) zoning, the new millennium. In fact, over $1 billion was invested in new construction and renovation of residential established in that year, encouraged sidewalk cafes, and clubs which brought new residents to the city. The Historic property during the 1990's. This interest in Miami Beach real estate, combined with the rebirth of South Beach District was called The Entertainment District, ironically. "A level of noise and discomfort that could kill the goose that as an international playground, led to a more than doubling of the value of taxable property in the city between laid the golden egg."87 According to many preservationists of the time, the new 1984 and 1999.89 ordinance would lead to the destruction of The Art Deco District. Critics of the ordinance worried that the new hotels would cast shadows over the Historic District and the new zoning would cause a change in the urban context and Condominium sales at the end of 1998 were up 28%, however, inventory also increased almost 10% during demolition of many historic buildings. After the new zoning Ordinance was that time. Construction of upscale condominium projects was higher, increasing the inventory of condos priced established, Mrs. Barbara Capitman (Figure 48) stated her opinion to a reporter $500,000 and higher by 87%. These numbers are in accordance to the development of the new high-rise of the Miami Herald: " "I have this awful feeling, from experience, I sense this mood to relax and compromise, this of condominiums in northern Ocean Drive. The South Beach market is primarily a non-resident market with close self-complacency. It's such a scary thing. I can see the whole Art Deco District being gone in two years."88 to 70% unoccupied in the off-season, as in the case of the II Villagio Condominium. These statistics are important since they show the increase of commercial activity in the already very commercialized environment Economic Viability of South Beach. They also show that new residential developments as the high-rise condominiums on northern Another point of extreme importance when programming an architectonic development, are the economic issues. Ocean Drive could hardly occur in a near future along Ocean Drive. 90 "Resort tax collections are the one true indication of business on Miami Beach," said Stuart Blumberg, director of Miami 8 T. D Allman, Miami City of The Future. New York: Atlantic Monthly Press, 1987. 38-39 86 Michael Raley. Old Miami Beach. Miami Design Preservation League, 1994. P. 99. 87 "Neighbors Question Price of Success at Town Hall Meetings," Impressions MDPL 10.2 March 1993. 89 http://www.ci.miami-beach.fl.usindex.html 88 charles whited, "Art Deco's Grande Dame Fought to the End," Miami Herald 1 April 1990. 90 http://www.ci.miami-beach.fl.usindex.html 24 Architectural Character 1931 at Charleston, South Carolina.91 Today there are many historic districts in America and around the world. Some second oldest On Ocean Drive there are currently sixty-nine private buildings and two public buildings (on Lummus Park). According examples of historic areas include the French Quarter (the Vieux Carre section) in New Orleans, the Village also in New York. to documentation done by the city of Miami Beach Planning, Design and Historic Preservation Division in 1995, historic district in America, established in 1936, Coney Island in New York or Greenwich architectural styles within Ocean Drive vary according to architectural tendencies and typologies of the 1900's. Greenwich village for example, is composed of a small-scale group of neighborhoods with buildings, mostly below six to Gothic Revival Architecture on Ocean Drive as part of the Historic Art Deco District marks its beauty and success in its collective floors in height. The styles of architecture within the area vary from Greek revival architecture or continuity. 'When architectural and urban qualities. On Ocean Drive, a single contributing building may not seem to possess a special Architecture. However, it is the human scale and character of the place that provides an integration term Greenwich Village is to me a spiritual significance when viewed by itself, but when viewed together with its neighboring buildings, a unified image of a distinct speak of Greenwich Village I have no geographical conception in view. The and no art."92 and attractive neighborhood occurs, contributing to the special character of the community's urban fabric. A large zone of mind.... The city, which hasn't a Greenwich Village, is to be pitied. It has no life, no illusion, is a home number of contributing buildings reflective of different architectural typologies and development patterns from the early Greenwich Village symbolizes the idea of intellectual freedom of thought and expression. Greenwich Village together harmoniously. Greenwich days of Miami Beach to the present era characterize Ocean Drive. The survival of Ocean Drive architecture depends on neighborhood for New York University, where people from very different cultures live and artistic life. a compatible, harmonious and supportive environment in the future, which promotes sensitively, designed new projects. Village endures as a cultural crossroad filed with a widely varying, many-textured intellectual New developments with sensitivity to the unique aesthetic character of the area and respect for its early origins can (Interventions in historic areas can serve as case studies for the development of this thesis. Greenwich Village-the 93 contribute to the architectural identity of Ocean Drive. Buildings, old and new, are usually the major defining elements in townhouse inf ill project by architects Hardy, Holzman, Pfeiffer ) the makeup of a neighborhood character. This character is what gives identity to a historic district. The special character Is there of a neighborhood can be maintained and reinforced by highlighting and preserving the significant architectural features When referring to how to design in a historic context, it is important to find a common way to address the issue. of the buildings that are considered to be contributing to the area and by being considerate of those special qualities, in a pattern for designing in a historic area? According to Vitruvius, in architecture as in life, all disciplines follow a process, the design of new construction. "have a common bond of union and intercourse with one another".94 Architecture as any other discipline in life depends on history as a reference and principle for or towards new ideologies. When referring to designing according to a Historic Contexts context, it is best to look at typologies or paradigms that form a definite pattem. "Paradigm is the word used to describe In order to design a project within a historic area, it is important to understand the meaning of historic context. Analyzing a disciplinary matrix, ensembles of beliefs and practices broadly shared by the members of a disciplinary community different developments within historic areas can provide patterns for development or determine different ways in which a about: methodologies, purposes, values, institutional roles, society justification, pedagogic models, interpretive project can confront the conditions of a historic location. The first historic district in the United States was established in 91 Norman Tyler. Historic Preservation. New York: W.W. Norton &Company, 2000. p.59 92 Hippolyte Havel, The Spirit of Greenwich Village. 1915. 93 Norman Tyler. Historic Preservation. New York: w.W. Norton &Company, 2000. p.59 80 David Smith capon, Architectural Theory Volume One. (New York: John wiley & Sons, 1999), 3. 3 Raul Garcia. Arc 4993, Preservation/Architecture. Thomas Kuhn's concept of Paradigms (209 century philosopher) 25 concepts, theories, domain and scale of concern or subject matter".95 Is there a pattern or definite paradigm to design restore the area. However, the money, the luxury, the glamour, also brought the risk of turning Ocean Drive away from within a historic context? its original conditions, a resort area for the middle class with a high diversity of ethnic population. Ironically, these concepts can also be applied to defining preservation in a commercial and superficial manner. The irony presented in Role of Preservation describing the social environment around Ocean Drive and the concept of preserving, can help understand a false When referring to historic context and continuity in architecture is important to mention historic preservation, which is saying about preservation. the basis for what is now the Art Deco District. One of the first acts of preservation in America was the successful effort to prevent the demolition of the Independence Hall or Old State House. The Mount Vernon Ladies" Association of the The preservation of a building not only involves its physical aspects or "looks". It involves the history of the place, and Union is considered the first preservation group founded in 1853, to save the deteriorating Mount Vernon, George the historic events that took place in those spaces. Considering the spaces within and around the buildings, as part of Washington's homestead.96 their living history allows historic structures a more active and significant role within the community. Therefore, Another important date for the preservation movement was the establishment of the National Trust for Historic preservation should be seen as more than protection of older buildings. Preserving buildings only as inanimate Preservation in 1949. In 1966, the U.S. government approved the National Historic Preservation Act.97 This Act structures makes of them museum pieces, objects of collection and nothing more. established the National Register of Historic Places, which is responsible for designating historic districts as the Art During the 1990's, Tourism advertisements referred to Ocean Drive and South Beach as an American Riviera. The Deco District. Beach, the nightclubs, was the reference for the advertisement. Currently, on Ocean Drive it is hard to appreciate the architecture due to the large amount of commercial and social activity taking place along, in front of the buildings that Along Ocean Drive, every structure represents the history and evolution of the City of Miami Beach and the historic Art line and shape the street. Through the history of Miami Beach and Ocean Drive could be seen that "South Beach" is Deco District. The early development plan of the Lummus Brothers proposed a middle class resort with a low scale one of the most popular areas not only within Florida but the entire world. Its success lies in that it has a well-defined typology of buildings. During the 1990s, there have been new developments that antagonized the original development identity that is appreciated by people all around the world. At this point, it is important to take advantage of the plans for Ocean Drive and the southern part of Miami Beach. Also, there have been parallel movements of preserving, "popularity" of Ocean Drive to enhance its architecture and the preservation of the buildings and history, which are the restoring, and rebuilding on Ocean Drive. key elements in shaping the identity behind the commercial fagade of Ocean Drive. Since the late 1980's, Miami Beach and especially Ocean Drive has become a very popular place. It has become a Program center of tourism and entertainment activities. Ocean Drive became the facade for commercial advertisements, the To promote historic preservation and the history of the Art Deco District and Ocean Drive, this thesis proposes the fashion industry, and the entertainment industry in general. With this, came the success and money to promote and designing of a Museum of Urban Development at 1126 Ocean Drive, between the Amsterdam Palace and the Victor Hotel. (Figure 49) The Museum of Urban Development would provide one type of architectonic and educational 9 Barbara Flanagan, "Can a building change the way people see their city-and think about architecture? If the Gehry's Guggenheim is any proof, the answer is response to the issue of preserving a historic context. a resounding yes!". Metropolis magazine (April 1998) NreCmy2in3 96 Norman Tyler. Historic Preservation. New York: Norton & 2000. p.33. W.W. Company, 97 Norman Tyler. Historic Preservation. New York: W.W. Norton &Company, 2000. p.33. 26 When analyzing the Art Deco District and Ocean Drive, many people can refer to it as an outdoor museum. However, Museum the definition of the outdoor museum by the National Trust refers to a collection of historic buildings existing primarily for The use of a museum of urban "educational" purposes. Educational is the keyword that separates Ocean Drive from been an outdoor museum. Ocean development in order to enhance a Drive has mainly commercial and also entertainment purposes. Can Ocean Drive then, be related to amusement parks historic context can be related to other ways of preserving the history of a place or area. A House Museum, according to as Disney World, where the main objective of the Victorian Street of Disney World's Hometown U.S.A. is to provide the National Trust, is "a museum whose structure itself is of historical or architectural significance and whose entertainment and not education. interpretation relates primarily to the building's architecture, furnishing and history."98 By this, it could be understood that a house museum can be considered an adaptive use. This concept can relate to the case of Ocean Drive where the The idea of the Museum of Urban Development is to unify all these concepts into a building within the most important Ordinance of 1989 and the new zoning for the area let to historic residential buildings to adapt into commercial street of the historic district, an icon of the preservation of the buildings and history of Ocean Drive and Miami Beach structures. However, this contradicts the philosophy mentioned before of preservation being more than the outside that are the real engine behind the success story of "South Beach." Among the many buildings on Ocean Drive, only physical structure, but rather all the spaces and conditions that contribute to defining the identity and history of a place. two are public and they are attached to each other. There are no museums along Ocean Drive and three museums in all the area including the National Register Architectural District and the Ocean Beach Historic District. The House Museum is the most traditional solution to the problem of saving a historic building. However, there are also the Outdoor Museums, which stand as the second major answer to the preservation of buildings. An Outdoor Museum On Washington Avenue lies the Ziff Jewish Museum of Florida, housed in a Copper-domed 1936 Art Deco building with is defined by the National Trust as "a restored, re-created or replica village site in which several or many structures stained glass and a marble bimah. The Building is also an Orthodox synagogue listed on the National Register of have been restored, rebuilt, or moved and whose purpose is to interpret a historical or cultural setting, period, or Historic Places. Exhibitions in the museum feature historical documents and artifacts. A video exhibits 230 years of 99 activity." There are three forms of Outdoor Museums. They may consist of original buildings, on their original sites, Jewish life in Florida; starting from the time Jews landed with Ponce de Leon escape European anti-Semitism. 101 preserved and operated as a museum for educational purposes. They may also, consist of buildings of historical or aesthetic interest moved to a new site for similar purposes. Finally, they may be composed of totally reconstructed The Bass Museum of Art, on Park Avenue, houses European paintings by the Masters, period furnishings, Hispanic buildings built with the same educational aim in mind. The outdoor museum movement originated in Sweden. Artur and American art, and a collection of art objects, tapestries and sculptures. Finally, the Wolfsonian-FIU, on Washington Hazelius is considered the father of the outdoor museum movement, credited for creating the first outdoor museum in Avenue, showcases some 300 objects d'art of American and European provenance from the late 19th to mid-20th- central Stockholm, in 1873.100 century collection of businessman Mitchell Wolfson. Glass, ceramics, furniture, posters, memorabilia, political propaganda, rare books and sculptures can be seen. 102 100 William J. Murtagh. Keeping Time. New York: Preservation Press, John Wiley & Sons, Inc., 1997. p. 93. s William J. Murtagh. Keeping Time. New York: Preservation Press, John Wiley & Sons, Inc., 1997. p. 78. 101 http://www.ci.miami-beach.fl.usindex.html 99 William J. Murtagh. Keeping Time. New York: Preservation Press, John Wiley & Sons, Inc., 1997. p. 93. 102 htto:l/www.ci.miami-beach.fl.usfindex.html 27 concept of the proposal is to provide for a new use for the alley, becoming more active, proposing for a temporary Museums can theoretical link the past and the present. During the last 30 years more than 600 museums have been pedestrian mall. The idea is to take advantage of the architectural qualities of this urban corridor. By walking through constructed in the United States. Today, many museum designs are architectonic art pieces. The museum of the future the passage or walkway inside the building proposal, the visitor experiences the transition between an open and an becomes not only a place for displaying art but also an art piece in itself, as expressed in theory by Kenneth Powell in enclosed space, or the relation between public and private, exterior and interior. The sensation of being in a transitional the prologue of the book New Museums, edited by Andreas C. Papadakis, or in practice by Frank Gehry in the space are possible due to the scale, lighting and elements that configure the space: Different exhibition elements Guggenheim in Bilbao. The Museum of Urban Development should be a place that physically showcases the hanging at different levels of a 87' high passage that exhibits a semi-public exhibit space, composed of architectural and architecture of the twenty-first century while it maintains the identity of Ocean Drive and the Art Deco district. It should sculptural elements as urban pieces, digital screens continuously projecting address the context of society, of nature and history, which is acquired and expressed through the many different information and a background scenery of the north facade of the Amsterdam architectural and urban proposals and their consequences. Palace or Versace's Mansion, popularly known today. (Figure 50) Proposal The building proposal for the Museum of Urban Development and Headquarters for the Planning/Preservation Also at the entrance level, stands a temporary exhibition or rental space that Department of Miami Beach is a public facility of around 10,000 sq. feet of construction on an empty site located on can open and connect to the walkway. Towards the entrance facing Ocean Ocean Drive between the Amsterdam Palace and the Victor Hotel, between 11th and 12t Street. The project theory Drive, lay the vertical circulation and museum store. Facing Ocean Court lays a small movie theater that projects starts with the concept of generating a civic facility for public use. The program for the building originated in the concept movies related to Ocean Drive and Miami Beach. of relating the very public Ocean Drive into an enclosed space, focusing in the relation of public and private through a At the second level stand the offices for the headquarters of the Planning/Preservation Department of Miami Beach. It semi-public, civic space. From that concept, arises the idea of programming a Museum that celebrates the city and its includes a reception desk and public attention area, a general working space and private cubicles for city planners, community. manager and director. At the third floor level, stand the archives for the offices of the Planning/Preservation Department. Most of the material included in this collection is held in books, newspapers, microfilms and computer databases. Ocean Drive is one of the best examples of contemporary urbanism as a result of a mixed-use zoning system. Let to the idea of integrating different uses for different users, within a single program proposal. The building proposal starts at the At the fourth level starts the Museum of Urban Development. Most of the exhibition of the museum is experienced entrance level, as a pivotal element for the program of the project. The program at that level includes an open exhibition through images or visual elements. At this level, the main exhibition space is composed of a 1'/16" scale model of all space that traverses the site from east to west, creating a pedestrian walkway or passage, extending the sidewalk into Ocean Drive, including Lummus Park, the beach and Collins-Washington Avenues from 1 t to 15th streets. the building. This walkway connects Ocean Drive to Ocean Court and consequently, provides for a different pedestrian At this level ends a ramping exhibition tour that starts at the seventh level. This ramp allows the visitors to view the city connection into Collins Avenue and allows the pedestrians to experience the alley in a different context. With this, the as they ramp down from a 100ft high roof top perspective of South Beach into a 60ft high view of the city. The 10'-wide ramps surround the building along the east, west and southern sides. The ramps start at the fourth level, since most of 28 the buildings in the Architectural District are approximately, 50ft high according to the city codes. This, allows the turn, between 11t and 12 Streets. The project theory begins with the concept of generating a civic facility for public pedestrians to walk through the different levels of the building with the city as the focus of the viewed exhibition with use. The program for the building originated in the desire to translate the very dynamic character of Ocean Drive to an different perspectives and scales. People can both see and be seen as they, walk on the sidewalks next to the buildings enclosed space of somewhat limited accessibility, focusing on the resulting tension between public and private space in South Beach. The fourth level provides information with regard to the history of Ocean Drive and the Art Deco on Ocean Drive through the creation of a semi-public civic space for the District. From that concept, arises the idea of District. programming a Museum that celebrates the city and its community. The fifth level represents the conjunction of exhibition space and the Preservation Movement. At this level, there is a Ocean Drive is one of the best examples of contemporary urbanism as a result of a mixed-use zoning system that void over the fourth level's architectonic model that leads to the auditorium and conference room. This double height allows the integration of different uses and different user groups, within a single building proposal. The Museum space allows the visitors to experience the model from a different perspective. The auditorium seems to float or hang proposal introduces itself to the street and the city at the ground level, as a pivotal element for the program of the inside the main rectangular volume enclosed by the scaffolding structure conformed by the steel structure and the glass project. The program on the ground floor includes an open exhibition skin walls. The auditorium can be seen from most of the other internal spaces of the building and is very clear from the space that traverses the site from east to west, creating a pedestrian outside. The auditorium north and east sides are very transparent so that they can integrate into the exhibit space. The passage open 24 hours per day which extends the sidewalk into the Preservation Board Meetings would serve as part of the Preservation exhibit. building, and connects Ocean Drive to the alley behind it, named The sixth level is a continuation of the previous level, focusing on architectonic details within Ocean Drive and the Ocean Court. Consequently, the building provides for a different District. pedestrian connection to Collins Avenue from the mid-block between 11th and 12 Streets and allows pedestrians to experience the alley in a At the seventh level stand the library and the technology research center. The area facing the Ocean is higher in order different context. (Figure 51) With this, the proposal provides a new use for the alley, allowing it to become more active, to enhance the frontal view of the Ocean. In this level starts the ramping down, as exhibition. The idea is to experience and proposing that the Museum itself operate as a temporary pedestrian mall. The idea is to take advantage of the the processional urban exhibit, descending the ramp to facilitate public use. On the eighth level stands a cyber cafe with architectural qualities of this urban east/ west corridor. By walking through the always-accessible passage inside the indoor and outdoor activity, and an open terrace facing the Atlantic Ocean. building, the visitor questions the accepted relation between public and private, exterior and interior spaces. The sensation of being in a transitional space is made possible by the scale, lighting and related elements that configure the Proposal space: Different exhibition elements hanging at different levels of an 87' high passage that houses a semi-public The building proposal for the Museum of Urban Development and Headquarters for the Planning/Preservation exhibition space, composed of architectural and sculptural elements, and digital screens continuously projecting Department of Miami Beach is a public facility of approximately 10,000 sq. feet of construction on one of the only information, all the context of the north facade of the Amsterdam Palace (or Versace's Mansion, as it is popularly known remaining empty lots along Ocean Drive located between the Amsterdam Palace and the Victor Hotel, which are, in today) visible as backdrop through the glass envelope of the Museum. 29 opportunity to understand the city from different perspectives and scales. Simultaneously, people can both see and be Also at the entrance level, is a temporary exhibition or rental space that can open and connect to the east/ west seen as they walk on the sidewalks next to the buildings on Ocean Drive, and on the ramps that move visitors along the passage. Towards the entrance facing Ocean Drive, lie the vertical circulation and museum store. Facing Ocean Court periphery of the Museum. This fourth level provides information with regard to the history of Ocean Drive and the Art is a small movie theater that projects movies related to Ocean Drive and Miami Beach. Deco District. At the second level are the offices for the headquarters of the Planning/Preservation Department of Miami Beach. This The fifth level represents the conjunction of exhibition space and the processes of the Preservation Movement. Here, a space includes a reception desk and public attention area, a general working space and private cubicles for city void extends from the architectural model of the fourth level to the auditorium and conference room of the fifth floor. This planners, manager and director. At the third floor level, the archives for the offices of the Planning/Preservation double height space allows visitors to experience the model from a different perspective, while connecting the Department can be found. Most of the material included in this collection is held in the form of books, newspapers, experiences of visitors to the museum to attendees Preservation Board meetings. The auditorium in which these microfilms and computer databases. meetings take place appears to float inside the larger rectangular volume of the Museum. That volume is enclosed by steel scaffolding structure and glass skin/ walls. The auditorium can be seen from most of the other internal spaces of At the fourth level the public exhibits of the Museum of Urban Development the building and is very clearly visible from the outside. Its north and east sides are very transparent so that they can begin. Most of the exhibition is experienced through images or visual become integrated with the exhibit space. The Preservation Board meetings, when in session, would become a living elements. At this level, the main exhibition space is comprised of a 1'/16" part of the museum exhibit -an opportunity to see preservation at work. scale model of all Ocean Drive in the year 1950, including Lummus Park, the beach and Collins-Washington Avenues from 1st to 15th streets. The model The sixth level of the museum is a continuation of the fifth, allowing visitors on the ramped promenade to focus on is 50ft. x 16ft. in dimension. Visitors are invited to walk around it in order to - architectonic details within Ocean Drive and the District. understand the urban structure of the eastern border of Miami Beach. (Figure 52) At the seventh level stand the library and the technology research center. In order to enhance the frontal impact of the A ramping exhibition tour of the city and museum holdings that begins at the seventh level both begins and ends on the Atlantic, this research area is housed in a taller volume. This seventh level begins the downward promenade. Like in FL fourth floor in front of the architectural model. This ramp allows the visitor to view the city as he descends from a 100ft Wright's Guggenheim, the visitor to this museum will arrive at the seventh floor by means of an elevator, and gradually high roof top perspective of South Beach to a 60ft high view of the city. The 1 0'-wide ramps surround the building along descend to the fourth level by means of a spiraling processional urban exhibit that facilitates public use. Finally, on the the east, west and southern sides. The ramps end at the fourth level, since most of the buildings in the Architectural eighth level stands a cyber cafe with indoor and outdoor seating and an open terrace facing the Atlantic Ocean. District are approximately, 50ft high according to the city codes. This allows the pedestrians to walk through the different levels of the building with the larger city as the backdrop to the viewed exhibition, and provides visitors with an 30 The rectilinear shape of the building accommodates itself to the urban geometry of the site and context. Code The Skin and Structure regulations, setbacks and site conditions with regard to a limited surface and extensive program for a civic facility, led to The building transparency, through its glass enclosure and structure, is a key element in relating the inside and outside. the decision to maximize the square footage of the site. The pedestrian is invited into the building visually through the transparency of the structure, creating a strong relationship between the exterior and interior spaces. From the exterior, any pedestrian can see different activities On the outside, facing Lummus Park and the Atlantic Ocean, lies on the main taking place inside the building. On the other hand, any person inside the building can have an outside perspective from facade, a 1000sq.ft. digital screen that projects images. The screen works as an the interior. Any visitor can experience activities within the building, with total relation to the immediate exterior context. urban element trying to incorporate the park as an interactive urban space that integrates to the social activity on Ocean Drive sidewalk. People would be sitting Also, the glazing provides for a transparency that allows better views of the Architectural District and the entire historic on the park, looking at the different images that would be projected from the context. And the transparency of the glass allows neighboring buildings, such as the Amsterdam Palace, to become an building.(Figure 53) integral part of the museum. The glazed facade makes it possible for the museum to disappear, as the neighboring structures become its outside skin in the eyes of the visitor. The different layers of materials that compose the structure The project proposal introduces a new building into the historic Ocean Drive context. It consists of a glass box that of the building also determine its transparency. The sunlight projected on the main fagade in the morning, determines wraps a scaffolding structure and proposes to be understood as a transitional element, within a context of cohesive the way that the building looks. Transparency levels, according to lighting, shadows, reflection and pedestrian activity, architectural structures. The scaffolding structure and glass express the present in the architectural continuum of the affect the overall image of the building. In a similar manner, people and weather affect the activity and image of Ocean District, trying to understand how to preserve without copying. The transparency and the reflectivity of the glass Drive. enhance and sometimes mirror the surrounding architecture. The transparency of the glass provides for a metaphoric eroticism that could also be described as a key part of the Existing architecture on Ocean Drive integrates public exterior space and interior spaces through its typology of social activity that takes place on Ocean Drive. The building exhibits its interior, its steel structure, creating a sense of architecture. How to address the issue of relating exterior and interior spaces, the surrounding Art Deco architecture exhibitionism that could also be related to the people walking in a fashionable manner along Ocean Drive. The museum with the social activity on Ocean Drive, into a 21st century building, is one of the principal questions of the project allows for voyeurism, and in so doing relates to an eroticism that is key to the genius loci of South Beach. proposal. A transparent building, within a light structure was the response to designing in this historic context. Steel, as the main structural material for the building proposal and scaffolding structure, accommodates to the functional needs of the museum, allowing longer spans between columns and providing for a lighter structure. (Figure 54) The steel structure is also transparent, in the sense that it is very honest, rational and 31 direct. This can relate to the way in which existing Ocean Drive architectural typologies let the exterior facade of the architecture along Ocean Drive. The project generates continuity as it responds to the needs of its time in the same buildings be very frank and direct about the interior features of those buildings, creating a transparency even within the manner that the buildings of the Art Deco movement responded to the needs of the first half of the 20"h century. The massiveness of the buildings. purpose of the building is to reflect, to celebrate the surrounding architecture, and not to copy it. Here contrast enhances the invaluable historic context. Architectural details and Zoning Continuous eyebrows along the building exterior are part of the language of the project. These eyebrows help to define levels within the building, serve as shading devices for lighting control, and integrate with the typology of the architecture of the Art Deco movement on Ocean Drive. The horizontal and continuous use of eyebrows creates continuity within the buildings along Ocean Drive. The project proposal matches the height of the Victor Hotel immediately to. the north. It diminishes its height towards the Amsterdam Palace, creating a visual balance and to integrating the building to the context. On Ocean Drive there is a pattern of construction height that is broken at continuous intervals by buildings rising more than 100ft in height. In the case of the Netherland and Tides Hotels, for example, they occupy more than one lot of 50ft by 130ft and so, tend to look shorter. In the case of the Victor Hotel, the eight story high section of the building lies within a lot of 50 by 130 feet. The Victor Hotel looks taller and narrower than these earlier structures and does not match the rhythmical pattern of height and proportions of the Ocean Drive facade. The project proposal of the Museum not only matches the existing skyline, but also integrates functionally and visually with the Victor Hotel, creating a continuous silhouette that, in concert with its neighbor, works to match the proportions of other tall buildings such as the Tides Hotel. Most of the buildings along Ocean Drive were built along a 20-year span and according to specific social and economic conditions that influenced directly in the outcome of the architecture developed. This project proposal responds to the social, architectonic and economic needs of the present times by providing a contemporary structure that allows contemporary concerns such as views and public and semi public spaces, to be a priority in the context of the building. 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"arn;.r,1n tVn,Ib'."=^:."',,,4 F I a ;.; Y .F1h ' Wf 1 }aM C J F4ra s k vlt uE r r, . rl gg i * ro r kW as9 Fig 88 Fig 87 49 'Ile ! mn# 6 M r 4 , a x. l aaa al! % PM m p a Fig 89 Fig 90 50 Xt'c n b( i ii I 1 i r i r r q es ssAr S' S A Q e ill Y If I: '. Milo 1tis, + ., =u 32 Fig 91 Fig 92 51 n 6 1 r Six+ .I" ICI 'd 1IT iii r I fL I'; Fig 93 Fig 94 52 i4 rTn - Fig 95 Fig 96 53 ... 9 43a. I I N ; a. k . .I M1 U ' , rr Ir a: cec -mom Too, # ry I rrf ,h Y^+rn of I.: ------a ."'use s '{4i3 Fig 97 ", r f I,41 . .ext s,ref 'NO p V f a9 a IAAANNN lip RIB Fig 98 54 ii Vp I"TR INImi-, Paz 1"r, a -0 WIr lot Ono na, III Ojii Odom I A 1 1 Rol y 010 fli 1 ;Inv yiP ail, _ li rz 1 9lwiil i ! .iih ig111 i P Ilk lI~li ,.. Mi I 1 1 I L a Paz .i iigi rE 1P y 1I'M '' _' DIY .. l i Fig 99 n nr wo, Y '"fi" .. ,..,.p, k ill s a e m t ) =",;,' n, M - h Will Fig 100 55 Murtagh, William, J. Keeping Time. New York: Preservation Press, 1997. LIST OF REFERENCES Newhouse, Victoria. Towards a New Museum. 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